In this article the author analyses Benedek Fiegauf ‘s latest feature film, the Milky Way (Tejút, 2007) in view of Abbas Kiarostami’s Five (2003) and the works of the Canadian artist, Mark Lewis. Fliegauf’s aforementioned feature film is also a contemporary work of art, which was fi rst exhibited in Hungary, in the Ludwig Museum in Budapest. The work is thus on the more and more fading and weakening border between fi lm and contemporary art. The images of the Milky Way, evoking the recordings made in the late nineteenth century by the Lumi?re brothers, reside in the original essence of cinema, bypassing the two paths of showing reality and of creating fi ction, that is to say, they are inherent in the presentation of bodies in motion and of objects in movement. Re-thinking the movement in cinema, through the exhibition of fi lms in the illuminated museum halls, has become interesting again. Bazin’s question, What is Cinema? and Chris Dercon’s question Where is the Cinema? also seem relevant in reference to Fliegauf’s work. The author tries to show in this article that the purely passive creational approach, as described by Jacques Ranci?re, which brushes aside the presentation of actions in linear order to present stories, assists in the birth of pure movement. We encounter this pure movement, observed without interference, in the works of Benedek Fliegauf, Abbas Kiarostami and Mark Lewis. Beyond shedding light on theoretical questions, the author treats Milky Way in view of the artist’s other feature fi lms, which further illuminate the path leading to Fliegauf’s third feature fi lm.
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